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HomeUncategorizeddifference between lasko 1850 and 1885

The striped green skirt in this example is composed of eight gores that significantly reduce the amount of bulky pleating and gathering at the waist characterising earlier styles. The slender ankle, curved Louis heel, and high, buttoned leg were very fashionable in 1900. Nonetheless it is useful for dating purposes as it shows fashions typical of the 1860s. High buttoned necks with low-set sloping shoulders and puffed sleeves were also distinctive features of 1860s dress. The jacket of this evening suit still has the 'button stand' around the outer edge of the lapels. Moderates. T.171 & A & B-1960Given by Mr B. W. Owram. This pair was purchased in 1923 for 8 shillings and sixpence. Collar and cuffs are faced with gold beaded tulle. Family photographArtist unknown1898EnglandPlatinum printMuseum no. It is held out in a pronounced bell shape by layers of petticoats or a steel cage crinoline. Boaters are still sometimes worn today as part of a school uniform of for formal occasions connected with the river. 3DEP DEMs interpolated from Made-to-measure clothes from Worth, as from the other great Parisian fashion houses, were an important symbol of social and financial advancement. This dress has many of the features associated with the dress reform trend of the late 19th century. The dress bears the label of the maker: Halling, Pearce and Stone. Enjoy style, convenience and performance of a stunning fan with the 16-inch Remote Control White Stand Fan by Lasko.Lasko has been engineering and building great-looking, high performance home comfort products in the U.S. and around the world for more than 100 years. Aesthetic dress was popular in the 1880s and 1890s, particularly within artistic and literary circles. Those who supported it repudiated tight corsetry and cumbersome petticoats in favour of less restrictive clothing. T.112 to B-1938Given by Miss M. Eyre-Poppleton. By 1880 women’s fashions were becoming very elaborate. It was important to be dressed appropriately for the occasion. T.562-1913Given by Messrs. Harrods, Shoes with high heels were almost non-existent in women's fashions during the first part of the 19th century. Instead simple flat satin slippers or 'sandals' with a bow or rosette at the throat and ribbons or elastic loops to fasten them round the ankle were all the rage. However, by the 1850's the heel had begun to make a comeback.Â. The dresses have fashionable wide skirts, reflecting the contemporary popularity of crinolines. It was known by the French term 'à disposition'. E.2283:191-1997The Ashton Collection. ', Photograph, portrait of A. Horsley HintonFrederick Hollyer (1837-1933)Late 1890s, EnglandPlatinum printMuseum no. The Queen magazine of August 1888 illustrated a very similar 'Directoire' reception dress, and in November of that year commented: 'the petticoat falls in gathers from the waist . The evidence of the latter would not be upon him for all men to read, as the evidence of his ignorance in social forms is, in his mistaken notions of dress. T.113 to B-1934Given by Dr C. W. Cunnington. Golding (unknown)1879LondonFigured silk, trimmed with machine embroidery, net and machine-made laceMuseum no. Phase (Period) 1885-1905. This is an example of a formal evening dress which would have been worn to smart dinners, the theatre and other fashionable evening entertainments. The little girl on the right is also wearing a bell shaped skirt, though much shorter, as was customary for children. Beeton, London1865Paris and LondonLithograph, coloured by hand, ink and watercolour on paperMuseum no. 7912-1938. Such a photograph was expensive to produce and enjoyed for its delicate tonal gradations and matt surface. Aim. Boaters were stiff straw hats with a moderately deep flat-topped crown and straight narrow brim and with a hatband of Petersham ribbon (thick double ribbon which was generally watered, plain, figured or striped). Portrait of Maharaja Duleep SinghHorne & ThornthwaiteAbout 1850LondonAlbumen print from collodion negativeMuseum no. This construction created a long narrow line and a smooth fit over the contours of the bust and hips, accentuated by the figure-hugging corsets worn beneath. The elbow-length sleeves and square neckline show that it was probably a dinner dress rather than ball gown. This portrait is of the Louise Jopling Rowe (1843-1933), one of the best known female painters of the Victorian era. She is shown here at 47 years old, when she was already interested in 'rational' dress - a dress movement that eschewed heavy bustles, massive crinoline skirts and tight corsetry. At the turn of the century she served as vice-president of the Healthy and Artistic Dress Union, which championed this less restrictive mode of dress. But a surprising aspect of society in the late 1800’s is that the wealthy upper class had their own curiosities about how the poor lower class lived. The factory Act 1850 put right some of the wrongs of the 1844 act. Introduced in 1856, and generally made of hoops of spring steel suspended on strips of material, these allowed skirts to expand to enormous proportions not possible with layers of petticoats. DressDesigner unknownAbout 1872Great BritainCotton, trimmed with silk braid, fastened with bone buttonsGiven by Miss Julia Reckitt and Messrs G. F. and A. I. ReckittMuseum no. Evening dressMrs. De Beauvais, Paris; published by S.O. Wiggins, 52 West 21st Street, N.Y.' The paper label stitched to the waistband carries the name of the wearer, 'A. By 1800 it had become usual for her to wear white or cream. The shoulders of her dress are sloping, and low-set. The influence of masculine tailoring can be seen in the cuffs and bodice revers of this woman’s afternoon dress. E.1027-1992. Waistcoats were often collarless and single-breasted, and trousers were occasionally cut from a narrow check cloth. They could then be personalised with rosettes or other decorative embellishments if desired. These were simply tacked on to a piece of gauze which was then stitched on at the throat over the top of the existing standard bow which was already in place. Personal accounts for this period show women buying new ribbons, laces, fabrics and trimmings to update their headwear. T.63&A-1976. Effective, lightweight, economical and comfortable, they ensured women could wear dresses like this one without having to contend with layers of hot and heavy petticoats. DressDesigner unknownAbout 1845Great BritainSilk satin, trimmed with velvet ribbon, lined with linen and silk, hand-sewnMuseum no. 1905-1920. Introduced in 1856, and generally made of hoops of spring steel suspended on strips of material, these allowed skirts to expand to proportions beyond those possible using only layers of petticoats. This portrait of Princess Louise, Marchioness of Lorne and Duchess of Argyll, illustrates formal evening dress from around 1890. Her waist is severely corseted and she wears a bustle to give a pronounced, hourglass shape. The volume of the skirt is pulled towards the back and drapes over the bustle. Her hair is piled on top of her head in tight curls, fashionable during the 1890s. The waist was lower in the 1870s than the 1860s, with an elongated and tight bodice and a flat fronted skirt. The patent is for the elastic size regulator which is fitted inside and would alter the inside of the hat to the shape of the head. These could then be worn for Sunday best long after the marriage. Tyler. Contrary to much speculation, these gores did not radically diminish the size of the skirt as The Englishwoman's Domestic Magazine pointed out in March 1868: 'Skirts are gored, it is true, but they are ample and flowing. The morning coat was worn during the daytime, as the name suggests. T.182&A-1914. Fashion is moving away from the fussier trimmings of the early 1870s. The contours of the crinoline have altered from a bell shape to a profile that is fairly flat in front, with the bulk of volume at the back. Portrait of Violet Lindsay, Duchess of RutlandFrederick Hollyer (1837-1933)About 1890EnglandPlatinum printMuseum no. Hair was parted in the centre with ringlets at the side of the head, or styled with loops around the ears a… It is characterised by sharply angled cut-away fronts, short length and double-breasted style. This is a music sheet cover with a portrait of the young Queen Victoria, showing her in fashionable dress. Royalty led taste and fashion, and women followed the style set by the Queen. The fronts were cut at an acute angle from the second button, exposing much of the waistcoat. This style continued until the 20th century and became identified as the city business man's suit of black coat, striped trousers and bowler hat (replacing the top hat). T.224&A-1927Given by Mrs. Phayre. corresponding with the large revers (and) . Skirts were worn in a full-length, simple A-line. According to the Bureau of Labor Statistics consumer price index, today's prices in 2020 are 3,238.31% higher than average prices since 1850. Vivid magenta-coloured silk gives this dress a rich and flamboyant appearance. They became so popular that the Tailor and Cutter of 1895 reported, 'The straw hat boom has boomed still more boomily, and the farmer is crying out that the wheat crop is short in the straw.' This ensemble characterises fashionable evening wear for women in the late 1870s. Photograph, portrait of Ellen TerryFrederick Hollyer (1837-1933)1886LondonPlatinum printGiven by Eleanor M. Hollyer, 1938. It shows European shoe-making at its finest. Census records give valuable information about your ancestors including: names of family members, residence, year and sometimes month of birth, birthplace (state), and occupation. Ornaments for evening wear included floral wreaths, ostrich feathers, pomegranate flowers, wheatears and butterflies. They borrowed details from men's dress, such as wide lapels and exterior pockets. Women still wore hooped petticoats (crinolines) to give the desired silhouette, but they were no longer bell-shaped and by 1868 they curved out behind forming a kind of bustle. DressDesigner unknown1845-50Great BritainSilk satin, lined with cotton, edged with brush braid, hand-sewnMuseum no. Beeton also included paper patterns, a new phenomenon that, combined with the fashion plates, ensured the magazine appealed particularly to the increasing numbers of those who owned a domestic sewing machine. DressDesigner unknownGreat BritainAbout 1862Silk trimmed with silk braid and beads, lined with glazed cotton, edged with brush braid, hand-sewnGiven by Miss Edith WestbrookMuseum no. He was soon patronised by the Empress Eugenie and her influence was instrumental to his success. Cloaks and mantles were still worn for warmth outdoors, but their shape had slimmed down considerably after the 1860s, so as to follow the contour of the dress underneath. Her hair is typical of the decade - parted in the middle and scraped back into loops or buns at the nape of the neck. In the first year of the new century, more than 100 African Americans are lynched, and by World War I, more than 1100. Typical of the period are the full ‘pagoda’ sleeves and the bodice gathered from the shoulders into the lower front waist. 1896: Plessy v. Ferguson, rules that state laws requiring separation of the races are In 1888 the dinner jacket was introduced for more informal evening wear. DressDesigner unknown1878-80Great BritainJacquard woven silk, ruched silk trimmed with machine laceGiven by Miss K. GreaswellMuseum no. Tiers of machine-made lace adorn the skirt and bodice; an overskirt of satin swathes the front of the dress. High, starched collars were worn with cravats and neck-ties. E.1275-1959. T.3-1982. There were therefore many with images of the Queen and, after her marriage in 1840, of Prince Albert, either as portraits or at particular events. Day dressDesigner unknownEnglandAbout 1869Cotton muslin, trimmed with satin, bobbin lace and machine whiteworkMuseum no. This family photograph album contains single and group portraits and depictions of sports and pastimes that would have amused family, friends and visitors. Opera bootsDesigner unknown1840sGreat BritainBlack leather, with suede leg and silk bow, hand- and machine-sewnMuseum no. The sitter sports a high collar folded over into wings and a high buttoned waistcoat. 1860s women's dress featured tight bodices with high necks and buttoned fronts. The donor was her great-niece. Corbin writes that around 1885, the Wakefield Rattan Company's catalogue included "seventy-one different designs of rockers alone." It measures 457 mm in diameter and is designed to circulate air and cool a large bedroom, living room or kitchen. It is said to have been made in 1885 in Clifton, a district of Bristol in the West of England, and worn in Burma. This eye-catching day dress formed part of the trousseau belonging to Miss Janet Gilbert. It was introduced in 1870 and was known as the 'University' or 'Angle-fronted' coat. Crinolines, far from being left off, have merely changed their shape; they are plain in front, but puffed out on either side so as to remind one strongly of the hoops or paniers of the last century'. E.5010-1968Given by Dame Marie Rambert, The print is unusual in showing a dancer of the 1840s in a fashionable dress rather than a ballet costume. This accentuates the flounced effect of the fringe and helps to distribute the weight of the heavy skirt over the dome-shaped crinoline cage which would have been worn underneath. In about 1892, flared skirts were introduced. T.1039-1913Given by Messrs Harrods. Day dress (skirt and bodice)Designer unknown1892-4France or ItalyPrinted silk, with insertion and trimmings of cream silk gauze, hem bound with pink velvet, lined with silk, whalebone supports in the bodice, and metal hook and eye fasteningsMuseum no. The eldest of the girls formally greets the puppy, while the youngest child looks gravely at the camera clutching an owl, the emblem of wisdom. Coat and skirtJacques Doucet (1853-1929)About 1894ParisLinen, with collar and cuffs embroidered with silk cord, elastic stays attached to the inside of the skirt to control the fullness, hand and machine sewnMuseum no. For best results, avoid entering years before 1753. Another magazine illustrated a similar example: 'The newest bell skirts are absolutely without fullness at the top….It fits closely over the hips and begins to form a series of fluted pleats a little above the knee' ('Our Lessons in Dressmaking', Myra's Journal, 80, 1 April 1894). Number of days between: Dress (skirt and bodice)Designer unknown1863-5FranceSilk, hand-embroidered in black silk and cut-steel beads, trimmed with black taffeta, with a lace collarMuseum no. Men wore matching coats, waistcoats and trousers, with hairstyles characterised by large mutton-chop side-burns and moustaches, after the style set by Prince Albert.Shirts had high upstanding collars and were tied at the neck with large bow-ties.High fastening and tight fitting frock coats were also very fashionable; though a new style called the sack coat (a thigh-length, loosely fitted jacket) became popular.The bowler hat was invented around 1850, but was generally seen as a working class hat, while top-hats were favoured by the upper classes. The bonnet has wide brim sheltering the face, reflecting the heightened sense of propriety brought in when Queen Victoria ascended the throne in 1837. This pair of shoes is a typical example of that style. Women wore crinoline petticoats made of steel hoops under their dresses to give them this distinctive shape. This coat is reputed to have been worn by William Pierson Johnes, a linen merchant of New York City. Originally imported from India in the late 18th century, British manufacturers were making woven and printed versions by the early 19th century, based on the Indian designs. Circ.204&A-1958Given by Rev. His moustache is long and twisted at the ends. Day dressDesigner unknownAbout 1858-60Great BritainPrinted cotton, trimmed with whitework embroideryMuseum no. The French influence was due to the stylish Empress Eugenie who had married the French emperor, Napoleon III, in 1853. With its minimal bustle and strong emphasis on the sleeves, this day dress illustrates the smoother silhouette that began to appear in the late 1880s. They were superseded in the late 1870s by the larger and sturdier ‘cabinet cards’ whose popularity waned in turn during the 1890s in favour of postcards and studio portraits. By the 1890s it had become popular for city wear. x Alternatively, a contrasting waistcoat and trousers were often worn to add colour and variety to the outfit. T.6&A-C-1937Given by Miss E. Beard. As America moved to the suburbs in the mid-20th century, Lasko expanded into small appliances, fans, and household portable heaters. T.101&A&B-1972Given by Miss A. Maishman. Additionally, by about 1860 chemical aniline dyes were widely available. PH.457:423-1968Given by Lady Clementia Tottenham. the large cuffs . This was effected between 1840 and 1850 by the conception and development of Whitworth's famous measuring machine. A fashionable man needed clothes to suit all occasions, both work and leisure. The popularity of cashmere shawls reached its peak from the 1840s to the 1860s. In reality many of the dye samples from different manufacturers looked exactly the same, and it was only the exotic names, claims on colourfastness and improved visual quality that set them apart. Photographic studyLady Clementia Hawarden1861-2LondonAlbumen processMuseum no. Photograph, portrait of Princess Louise, Marchioness of Lorne and Duchess of ArgyllFrederick Hollyer (1837-1933)About 1890Great BritainPlatinum printMuseum no. 1858-1938Given by Helena Hollyer, 1938. In this example the bodice is made with a basque, which was a separate extension below the waist, flaring out over the hips. The waist is set quite high and the torso is a pronounced hourglass shape due to the corset commonly worn by women of every class. This dress is characteristic of fashionable styles from the early 1840s. T.433&A-1976. DressSara Mayer & F. Morhanger (designed and made by)1889-92ParisFigured silk, overlaid with chiffon, velvet ribbon, machine lace, with striped velvetMuseum no. But your run-of-the-mill streetwalker with an upstairs room somewhere made between 2 and 4 times as much as she would at a factory. They used natural and artistic materials and often included hand-embroidered decoration inspired by the countryside and wild or garden flowers. Help and Example Use. Hats were very small and tilted forward to the forehead. Viennese and Belgian bootmakers produced some of the most striking footwear of the early 20th century. The fitted look was also achieved by cutting the bodice with five seams at the back and inserting front darts that curved in at the waist and then out again. Morning coatDesigner unknown1870-5Great BritainFine wool, with a velvet collar; edges bound with wool braid; buttons covered in sateen; partially lined with twilled silk, and sleeves lined with twilled cottonMuseum no. It extends into drapes at the hips and merges with the train, which falls in inverted pleats from the seams of the bodice. Padget. Following the example set by Charles Worth in Paris, dressmakers had begun to identify the clothes they made. Very fashionable men sported low, tightly cinched waists, with rounded chests and flared frock-coats that gave them a rather hour-glass figure inspired by Prince Albert. A widow was expected to conform to strict rules governing her clothes for at least two years after the death of her husband, which included the wearing of a widow's lace cap and a black cape as seen here. A younger woman might discard her mourning garb after two years, but elderly widows generally wore it for much longer, if not the rest of their lives. The photographer, Frederick Hollyer, was a leading specialist in the photographic reproduction of paintings, but he devoted one day a week to sitters from artistic and literary circles. It also flows in sweeping folds over the bustle, which by the mid-1880s jutted out almost at right angles from behind. Capes with large collars were fashionable. Floral designs such as this were fashionable in the 1840s and 1850s. T.113-1964Given by Mrs. A. Nicholls. The skirt has a slightly draped front, with the back flared and arranged in deep pleats. Afternoon dressDesigner unknown1872-5Great BritainCorded silk, trimmed with corded silk, lined with cotton, faced with silk, edged with brush braid, machine and hand sewnMuseum no. As you can imagine this caused great curiosity among the poor about how the wealthy people lived. T.164&A-1937Given by Miss Sophie B. This dress illustrates the style of the early 1860s. African Americans. The figure of the young girl is partially balanced and echoed by the camera reflected in the mirror and the embroidery resting on the table beside it. The skirt may have been altered and have lost a side panel. Basis. However, after a long absence heels began to make a comeback around the mid-century. Low-cut slip-on shoes or 'court' shoes were the most popular form of women's footwear during the 1880's and 1890's. Inspired by newly developed European models of public education, the common-schools crusade had been initiated in the 1830s and won its first enthusiastic supporters in the larger, established towns of New England. This silk satin evening dress, designed by Charles Frederick Worth, represents the height of couture fashion in the early 1880s. ', CoatDesigner unknown1873-5IrelandCotton velveteen, lined with silk, wool twill and cotton, edged with wool braidMuseum no. Plain woollen costumes were considered ideal for a variety of leisure pursuits and could be adapted for sports such as shooting and golf. There is an overskirt over the back of the dress, accentuating the bustle that by this time was worn underneath. Photographic study of Isabella and Clementia MaudeViscountess Clementia HawardenAbout 1861-2London Museum no. This fashion plate shows examples of ball dresses. This dress has a foundation skirt of grey denim that is cut straight in front and gathered and pleated at the back to follow the lines of the separate bustle worn underneath. They educated themselves by reading widely and took up what were seen as 'un-ladylike' activities such as smoking and cycling. This photographic study imitates the composition of Raphael's famous painting of the Virgin Mary and the Christ Child, which is now in Dresden. This was a new style, known as a ‘cuirasse’ bodice, which appeared in fashion magazines about 1875 and remained fashionable through the 1880s. Hollyer was the photographer of choice for the artistic set of the late 19th century. The top hat was worn by the upper classes for formal  occasions. Queen Victoria (ruled 1837-1901) had just acquired a royal residence at Balmoral, Scotland, and set the fashion for all things Scottish. The Englishwoman’s Domestic Magazine of March 1868 recommended that there should be no more than 'two positive colours in a lady's toilet' and that 'very bright tints' should be toned down with white, black or grey to prevent a gaudy appearance. Painting, portrait of Agathonike IonidesGeorge Frederick Watts OM, RA (1817-1904)1880Great BritainMuseum no. T.51&A-1922. The skirt continued to be full and bell-shaped until around 1865 when it began to lose its volume at the front and move its emphasis towards the back. Both women wear the fashionable ideal of mid 1890s dress. They are both dressed in tightly corseted, fitted bodices with high collars and exaggerated leg of mutton sleeves. Print, 'Mademoiselle Fleury / La jolie Fille de Gande'Alfred Edward Chalon, R.A. (1780-1860, artist), Richard James Lane, A.R.A. (1800-72, lithographers), M. & N. Hanhart (printer), John Mitchell (publisher), Goupil & Vibert (publisher)1 May 1844 (published)Lithograph coloured by handMuseum no. Tailor-made outfits such as this one helped meet the needs of a diverse lifestyle. During the 1840s, women wore caps indoors and bonnets outdoors. Evening dresses were often off the shoulder. E.267-1942. By 1880 the skirt was quite slender in profile, often with an overskirt swathed in front, gathered over the bustle at the back and falling into a train. The red boots, which are of ribbed silk, come up above the ankle and have a 'military' style heel covered in silk to match the uppers. Neckties were either the knotted 'four in hand', or versions of the bow-tie tied around the collar. 1855 Black Angus is offered in USDA Prime and Upper 2/3 Choice, ensuring ideal marbling for the most flavorful and juicy beef. T.278 to B-1972Given by Lord and Lady Fairhaven. 2. This boot is one of a pair made in Vienna for display in a London shop. The Hawarden family album indicates that the man is Donald Cameron of Lochiel. PH.296-1947Given by Lady Clementia Tottenham. This necktie style was newly fashionable in the 1850s. The curved construction of the heels on this brown velvet pair was influenced by the heel shapes from the previous century. The short, circular cape therefore came into its own for both day and evening wear. This particular example is made of silk satin, striped in a complex arrangement of purple, crimson, magenta, grey and white. The wide collar and lapels are typical of the 1870s, as is the loose sleeve. They wear high collars with puffed, leg of mutton sleeves. 1880s women's dress featured tightly fitting bodices with very narrow sleeves and high necklines, often trimmed at the wrists with white frills or lace. Photograph Kate Dore with frame of plantsJulia Margaret Cameron (1815-79) and Oscar Gustav Rejlander (1813-87)About 1864EnglandAlbumen print; the ferns added by the photogram techniqueMuseum no. The waist remained long and narrow, ending in a point below the waistline. This dress is coloured with a chemical dye which closely resembles the aniline violet and purple fabric samples dyed with Perkin and Sons Colors shown in the ‘Practical Mechanics Journal: Record of the Great Exhibition’, 1862. I've changed hosts so you can navigate the site faster. Their inception owes much to the work of Sir William Henry Perkin (1838-1907), who discovered the first famous artificial colour by accident in 1856 when he was a student at the Royal College of Chemistry in London. Many women's jackets were embellished with details borrowed from military uniform. The Gentleman's Magazine of Fashion (1875) justified this fashion for health reasons: 'Medical men ascribe many deaths during the past winter to the fashion of low collars and to gentlemen not being sufficiently protected by their clothing at the throat and neck. The morning coat was originally a single-breasted tailcoat, worn in the early 19th century, and also known as the riding coat (or 'Newmarket'). If he goes to a garden party in a frock-coat and a straw hat, he is condemned more universally than if he had committed some crime. They were famous for their sporting costumes, smart tailor-made dresses and coats suited to everyday fashionable wear. This example has large wide sleeves, as was fashionable for the period. Boater hatDesigner unknown1890sGreat BritainPlaited straw, with a silk grosgrain hatbandMuseum no. A movable screen has been placed behind it, across the opening into the next room. Her dress is typical of the decade, with low sloping shoulders, a long and narrow pointed waist, and a voluminous bell-shaped skirt.Â, BonnetDesigner unknownAbout 1845Great BritainCardboard, linen, silk, cotton, wire; hand sewnMuseum no. Hair was worn quite long, but swept to the sides. In the colder parts of the country, potholes become more abundant in late winter and spring because of freeze-thaw damage to pavements. . Others came seeking personal freedom or relief from political and religious persecution, and nearly 12 million immigrants arrived in the United States between 1870 and 1900. Women’s dresses acted as a perfect advertisement for these rich hues, especially as trimmings usually matched the colour of the gown. This particular model is marked on the inside with the patent number 172905. The first U.S. federal census was in 1790 and ther… The collar, cuffs and front of the separate skirt are made of silk with a velvet warp-figured stripe. difference between FDM and OFDM Difference between SC-FDMA and OFDM Difference between SISO and MIMO Difference between TDD and FDD Difference between 802.11 standards viz.11-a,11-b,11-g and 11-n OFDM vs OFDMA CDMA vs … ', Photograph, portrait of Sir George Lewis, Bart.Frederick Hollyer (1837-1933)About 1890Great BritainPlatinum printMuseum no. The separate skirt is made from shot cream silk, trimmed with iridescent bead motifs over which machine-made lace is asymmetrically draped. She was a well known artist, and a champion of 'Aesthetic' dress - a dress movement that eschewed restrictive corsetry and artificial bustles for loose, draping clothes with simple silhouettes in natural fabrics and colours.Â, Photograph, portrait of Louise Jopling Rowe (1843-1933)Frederick Hollyer (1838-1933)About 1890EnglandMuseum no. This is an example of a fashionable summer day dress of the late 1850s. The eldest daughter, seated, reveals part of her underskirt, though underneath this would have been several layers more of crinoline petticoats or a steel cage crinoline to give the skirt its distinctively 1860s bell shape. T.47-1947Given by Mr A. W. Furlong. Her dress is off the shoulder, and her bodice is long and pointed at the front. The skirt is made with tiers and frills of lace. It was of a kind promoted in artistic social circles as 'Rational Dress'. Evening dressMadame VignonParis1869-70Ribbed silk trimmed with satinMuseum no. Heavy moustaches were common, and older men still sported beards. Afternoon dress (bodice and skirt)Halling, Pearce & Stone1879-81LondonSatin, trimmed with figured silk, chenille tassels and machine-made lace, lined with silk and cotton, reinforced with whaleboneMuseum no. 31 States - New States in 1850 Census: Florida, Iowa, Wisconsin, Texas and California; Territories – Minnesota, New Mexico, Oregon and Utah; 1850 Facts. Unlike the evening dress suit, which was cut with tails, the back of the dinner jacket was cut whole. This ensemble is an example of fashionable women’s daywear for summer in the late 1860s. A side table at the left balances a desk at the right. It was several decades before the sewing machine was widely used in homes and by professional dressmakers. Hats were small or wide with lots of trimming, but generally worn squarely on top of the head. MortonMuseum no. 3504-1953. A machine-woven label 'Worth Paris' has been stitched to the waist tape. 7859-1938Given by Eleanor M. Hollyer, 1938. Made of moiré silk, it has a lustrous rippled sheen accentuated by the rich Prussian blue dye, applied chenille flowers and sparkling metal buttons. Some typical uses for the Date Calculators; API Services for Developers. His 'Portraits of Many Persons of Note' fills three volumes with nearly 200 portraits and comprises a pictorial Who's Who of late Victorian and Edwardian celebrities. It is made of cotton, so it is easily washed and dried. Perkin’s discovery led to a revolution in synthetic colour from the late 1850s onwards. Lightweight dress fabrics such as silk and muslin were popular as they draped gracefully  over the crinoline cage. ; Birthday Calculator – Find when you are 1 billion seconds old Her hair is parted in the centre and looped down over the ears. Generally, both jackets and waistcoats were buttoned high on the chest. 1850 Census Geography. Morning coats were usually made of dark colours, and the fabrics included worsteds, diagonals, hopsack, ribbed meltons and beavers. Some looped-up styles were given nostalgic names such as à la Watteau and ‘Marie Antoinette dress' or were raised with cords and ribbon bows in the style of the originals. The pearly tones of the buttons complement the soft colour of the cloth and the ruffled frill on the stand collar adds a delicate touch. By 1865 the fullness of the skirt had receded towards the back of the garment creating a flatter front. 'Carte de visite' (Visiting cards), for Flora and Julia BradfordCamille-Leon-Louis Silvy1860ParisMuseum no. This is an excellent example of a double-breasted frock coat. Portrait of Richard Ansdell, painterWilliam Henry Lake Price1857LondonAlbumen-silver print on cardMuseum no. They did, however, favour luxurious trimmings such as lace, as shown here.Â, Court shoeDesigner unknown1885-90, EnglandSilk velvet with silk ribbon, lined with satin and leather, with diamante buckleMuseum no. It is mounted over a green silk petticoat, and boned and taped to a bustle shape at the back. A pothole is usually a fairly small feature caused by failure of paving materials, usually associated with roads, parking lots, and airports. A hemline just at the ankle indicates a garment intended for walking outdoors. The State of Education. Portrait of Lady DuckworthFrederick Hollyer (1837-1933)About 1890EnglandPlatinum printMuseum no. Many of the colours they provided were rather gaudy, such as this bright red. This study of Lady Hawarden's three daughters shows them dressed in typical 1860s crinoline skirts. The Lasko 18" Elegance & Performance Pedestal 3-Speed Fan will help you and your whole family stay comfortable in hot summer conditions. Bustles were often a separate structure attached around the waist and included crinolettes made of steel half-hoops, down-filled pads and wire mesh structures. The waist is lengthened in front with a point both front and back. Factory Act 1850, redefined the working day for factory workers. Photograph of Clementia MaudeViscountess Clementia HawardenAbout 1862-3LondonMuseum no. T.22-1973Given by Dr. N. Goodman. Conventions in dress applied to informal as well as more formal wear. When it was conserved, reddish-brown dust was found on the surface. Day dressDesigner unknownAbout 1862Great BritainCorded silk  with glass buttons and velvetMuseum no. This is an excellent example of a double-breasted frock coat. Manners for Men (1897), by Mrs Humphry, stated: 'For a morning walk in the Park in summer the straw hat, or low hat and tweed suit, are as correct as the black coat and silk hat. Hair was often worn parted in the centre, and most forms of facial hair were acceptable, though being clean shaven was rare. This item Lasko 1885 18" Cyclone Pedestal Fan with Remote Control, 18 inches White Honeywell Double Blade 16 Pedestal Fan Black With Remote Control, Oscillation, Auto-Off & 3 Power Settings PELONIS 16-Inch 3-Speed Oscillating Pedestal Fan with 7-Hour Timer, Remote Control and Adjustable in Height, FS40-16JR, White Some even had silk stocking legs laid over the leather to give even more of a stocking-like effect. DressDesigner unknownAbout 1880Great BritainSatin, trimmed with applied beading, chenille tassels and needle lace, lined with cotton, reinforced with whalebone, edged with brush braid, machine and hand sewnMuseum no. The collars were often faced with velvet and the edges were bound, corded or stitched. Promenade dress (skirt, bodice and mantle)Designer unknown1855-7Great BritainSilk plush trimmed with silk fringe and braid, lined with silk and whaleboneMuseum no. T.368&A-1960Given by the Comtesse de Tremereuc. Steel, This trained overdress is styled to suggest a man's coat of the Directoire period in France. 7830-1938, This is a portrait of Violet Lindsay Manners, Duchess of Rutland (1856-1937). They may not have been more comfortable than other styles but the hard-wearing fabric and relative lack of trimmings made them easier to care for and very versatile. When researching enslaved individuals, the slave schedules are most helpful when used in conjunction with the 1870 U.S. Federal Census, the U.S. Census Mortality Schedules, 1850-1885, wills, and probate documents. A miniature photographic portrait such as this example, is called a 'carte de visite' (the French for 'visiting card'). The latest fashion in bonnets usually featured the latest fabrics and trimmings, rather than a new shape. The elbow-length sleeves and square neckline show that it was probably not a ball gown, but worn for dinner or the opera. Not everyone, however, wore white. The dress fastens at the shoulder over a boned, green silk bodice lining. The bodice is tight-fitting and designed to suggest a jacket. Hair was worn with a centre parting tied into low chignons at the nape of the neck, with loops or ringlets covering the ears. With 170 years in the making, 1850 Coffee is bolder and smoother than you thought coffee could be. Masculine styles and tailoring were increasingly popular, and women sometimes sported a shirt collar and tie, particularly when playing golf or out walking. Inheriting a lace and lingerie establishment in Paris, Doucet expanded the family business by opening a couture department in the 1870s. Frivolous boots of silk and silk satin, some with high heels, were imported into England from France in the 1860s and 1870s. Cartes were mass produced, and those like Mayall's pictures of the royal couple were ordered by the hundreds of thousands. The free movement of the bicycle was seen as a symbol of equality and personal freedom. Those worn with evening dress were often trimmed with feathers, braid and beaded embroidery. The artificial forms of magenta were very popular and a battle for patents began as dyers sought to distinguish their inventions from those of their competitors. Soon other synthetic dyes were being produced with evocative names such as ‘acid magenta’, ‘aldehyde green’, ‘Verguin’s fuchine’, ‘Martius yellow’ and Magdela red’ to match their gaudy appearance. SitterHorne & Thornthwaite (photographers)About 1850LondonMuseum no. This elegantly designed pedestal fan from Lasko blends into surrounding decor and cools the largest home spaces. T.238&A-1916Given by Miss Bertha H. Davey. Many dresses of this date were decorated with trimmings of self-fabric, focusing the eye on the fabric pattern or richness of the material as well as the fashionable silhouette. T.797&A-1913Given by Messrs. Harrods Ltd. The grosgrain waistband is stamped in gold 'E. When applied in rows, fringes also simulated flounces and made skirts look even wider. One gentlemen's etiquette book, Manners for Men, by Mrs Humphry ('Madge of Truth'), published in 1897, writes that: 'There are special suits for all kinds of outdoor amusements, such as shooting, golfing, tennis, boating, driving, riding, bicycling, fishing, hunting, &c., but into the details of these it is unnecessary to enter. Covering one’s head was an essential aspect of etiquette in the 19th century. The fashion magazine 'The Queen' shows a dress with the same squared-edge sleeve in an issue for August 1870. The silk has a figured pattern of black and white leaves on a speckled ground. Enter two dates below to find the number of days between them. Manners for Men (1897), by Mrs Humphry, stated:' For morning wear the morning-coat or jacket of the tweed suit is correct. T.270&A-1972Given by Lord and Lady Fairhaven. The sleeves have had gores inserted at the wrist to bring them up to date with the new fashion. 1850 Census first to record the names of every person in a household and an individual’s place of birth. Striped jackets were originally worn for cricket, tennis and rowing and became fashionable for seaside wear during the 1880s. Hats and caps were correspondingly small and neat, to fit on top of the hairstyle. The Lasko 1850 is a white 18” oscillating adjustable pedestal fan and is part of Lasko’s Elegance & Performance line. It has an over-skirt and the bodice now extends below the waist. T.322&A-1970Bequeathed by Lionel Ernest Bussey. Dress and shawlDesigner unknown1845-50Great BritainPrinted wool, lined with linenMuseum no. The dress is trimmed with silk braid. . T.849-1974Given by Mrs Geoffrey Myers. Two shades of the same colour were considered very fashionable, particularly if the trimmings were of a contrasting fabric. He was born in 1825 in Bourne, Lincolnshire, and started working at the age of 12 in a draper's shop in London. The inside of the skirt has a series of tapes, which enable it to be tied up for walking outdoors. This elegant bustle dress displays a dense pattern of violets springing from a bed of vine leaves. 7640-1938. T.268&A-1972Given by Lord and Lady Fairhaven. E.1383-2000Transferred from the British Museum, William Henry Lake Price, himself a painter and printmaker as well as a photographer, has portrayed his fellow artist Richard Ansdell (1815-85) with the traditional tools of his profession and a still life composed of characteristic materials of the genre in Victorian times.Â, His clothing is typical of 'Artistic' dress, fashionable with artists and intellectuals of the time. Artistic dress is characterised by loosely fitting clothes, made of plain, muted fabrics coloured with natural dyes, which they wore in deliberate contrast to the tight and starched rigidity of Victorian formal dress.Â. The puffed epaulettes at the top of the sleeves indicate historical influences, particularly the 16th century. Coats and jackets were semi-fitted and thigh-length. This can be seen in professionally made clothing from the late 1870s onward. This dress was probably made in the mid-1840s and then altered about five years later to accommodate a change in style. This dress, veil and a pair of boots also in the museum's collection (T.43B, C-1947) were worn by Eliza Penelope Bright, nee Clay (the mother of the donor) for her marriage to Joseph Bright at St James's, Piccadilly on 16th February 1865. Shirt collars were stiff and upstanding, with the tips turned down into wings. PH.457:499-1968Given by Lady Clementia Tottenham. The elegant cut, combined with the rich materials and embroidery, makes for a flattering silhouette. The bodice is seamed and gored for a moulded fit. Princess dresses, like this one, suited this style particularly well. Fullness remained at the back, where it was swathed over a bustle and tied with tapes on the inside to allow the skirt to drape in a becoming fashion. The crinoline went out of fashion quite dramatically about 1868. Box pleated trimmings stand out in relief along the bottom edge and seams of the wide pagoda sleeves, emphasising their width.  Had Miss Gilbert worn this dress, white 'engageantes', or undersleeves tacked to the armholes would have covered her lower arms and a lace collar might have decorated the neckline. In the early part of the decade, women wore tight bodices with high collars and narrow sleeves, much as they had done in the previous decade. It would also have been easy to wash, unlike the silk satin dresses that were fashionable during this period. ››Enter dates. The sides of the coat hang down plain and straight . This portrait was first seen at the Photographic Society of London exhibition held at the South Kensington Museum (now the V&A) in February and March 1858. This was the first photographic exhibition held in any museum in the world. She is holding a photograph of bare trees. However, hairstyles can be of some use in dating. The sitter in this photograph sports a full moustache very fashionable in the 1890s. Dress (skirt and bodice)Charles Frederick Worth (1826-95), probablyAbout 1889ParisWool, with figured satin panels, edged with silk braidMuseum no. By the 1880s their dress was so similar that some observers noted that from a distance it was difficult to distinguish very young ladies from young gentlemen. Fashion in the 1880s in Western and Western-influenced countries is characterized by the return of the bustle.The long, lean line of the late 1870s was replaced by a full, curvy silhouette with gradually widening shoulders. T.176-1965Given by Capt. In the 19th century waistcoats tended to be one of the more elaborate and colourful pieces of the male wardrobe, which is partly why they survive in relatively large numbers. PH.192-1982. The wide skirt of dress would have been supported underneath by a cage crinoline. Hitherto the train was found only on evening dress, but the high neckline and elbow-length sleeves indicate that this dress was for formal afternoon wear. Time and Date Duration – Calculate duration, with both date and time included; Date Calculator – Add or subtract days, months, years; Weekday Calculator – What Day is this Date? Because weddings in those days took place in the morning, daywear with long sleeves and high necks was the acceptable style. 1840s fashion is characterised by low and sloping shoulders, a low pointed waist, and bell-shaped skirts that grew increasingly voluminous throughout the decade. x Photograms are made by placing objects on top of a piece of photographic paper and then exposing the composition to light. The West End Gazette for February 1885 illustrated a similar example (page 178). CAI.1142Bequeathed by Constantine Alexander Ionides. It was probably dyed with one of the new synthetic colours produced from the late 1850s onwards, although intense hues could also be created using natural dyes. Textile manufacturers soon turned to his aniline process and the resulting fabrics were characterised by an unprecedented brilliance and intensity that delighted the consumer. Day dress (bodice and skirt)Designer unknownAbout 1858Great BritainMoiré silk trimmed with chenille and lined with silk; with metal buttons, and whalebone stripsMuseum no. Her bodice is buttoned high at the neck and trimmed with a lace collar, with low-set and sloping shoulders. The sitter is wearing a high upstanding collar with a high single breasted waistcoat cut straight across the waist.  His dark necktie is tied around the collar with a small bow at the front.Â. Queen Victoria helped popularise the fashion for white when she got married in 1840. By the end of the 1840s, the wide neckline had closed up to a high, round opening. It was usually single-breasted and was known as the 'cutaway', as the fronts sloped away elegantly to the broad skirts behind. Some featured jackets and skirts in contrasting checks, stripes and diagonals, others, like this one, were made of the same material throughout. Many Victorian and Edwardian family photograph albums such as these were acquired by the V&A in the 1950s and 60s to show examples of the dress of that period. All the widths are gored, the skirt is scant and short at the front and forms a long sweeping train at the back.’ The subtle stripes of grey, blue and black are left unadorned, except for a bugle bead and silk fringe which decorates the bodice, the edge of the collar and the over-sleeves. Mary Frances Andrews had married Walter Crane, the painter, illustrator, designer, writer and teacher, in 1871. This suit might well have been worn for a tour abroad. This dress is a typical example of women’s fashionable day wear from the mid-1860s. For those who expect more from a fan than For those who expect more from a fan than simply blowing air, there’s 19th century military dress is often regarded as amongst the most ceremonial and decorative, though it does not follow fashion and does not change quickly from season to season, making it difficult to date as precisely. It is said to have been worn by Cara Leland Huttleston Rogers of New York, later Lady Fairhaven. Hollyer was the photographer of choice for the artistic set of the late 19th century. Between 1886 and 1900, there are more than 2,500 lynchings in the nation, the vast majority in the Deep South. DressDesigner unknownGreat Britain1868Silk, trimmed braid, beads, hand-made Maltese-style bobbin lace and silk fringeMuseum no. In 1865 cage crinolines protruded out more from behind and were flatter in front in contrast to the bell-shaped crinolines of the 1850s. The off-the-shoulder seam and sleeves with width at the elbow are typical of the 1860s. In order to fall gracefully over these new structures, skirts tended to be gored, that is constructed with triangular panels rather than straight widths of fabric. Other disputes arose over the health risk posed by the wearing and production of garments coloured with synthetic dyes. However, with the addition of a small heel and some striped decoration the form is updated to something more in keeping with modern tastes. This coat is an example of men’s formal daywear from about 1850. Moustaches and side-burns were popular. High class courtesans were paid more in jewels, housing, clothes, etc. Hollyer was the photographer of choice for the artistic set of the late 19th century. ShoesLatham1855-65LondonSilk satin with rosettes, ribbons and elasticMuseum no. Jim Ulvog on August 7, 2018, 10:30 pm at 10:30 pm said: Hi MimiR: Lady Hawarden achieved a very short exposure with her large camera, managing to photograph her daughters and a puppy without any discernible movement. Tartan fabrics were very fashionable in the 1840s, thanks partly to the continuing popularity of Walter Scott’s historical novels, set in Scotland. DressDesigner unknownAbout 1842EnglandSilk satin, lined with cotton, reinforced with whalebone, and hand-sewnMuseum no. By the late 1870s the profile of the skirt had narrowed considerably. Earlier royal brides had worn white but their dresses were often woven or heavily embroidered with gold or silver. T.152 to B-1966. The Queen magazine of 10 May 1884 commented on some particularly striking examples including, 'The "Hungarian" ... lavishly adorned with finest mohair braid, and finished with knotted cords; and the "Polish", of royal blue "faced" cloth ... handsomely braided across the front.' Their stylish boots made good display pieces for retailers. This example is a variation of the morning coat. Hinton was a photographer and member of the Linked Ring, a brotherhood of photographers committed to excellence in all styles of photography which flourished between 1892 and 1909. 1870s women's fashion placed an emphasis on the back of the skirt, with long trains and fabric draped up into bustles with an abundance of flounces and ruching. Lasko 18″ Pedestal Fan with Remote Control 1843 Check Price ! The bodice of the dress has vertical slits fastened with buttons on either side of the centre front. The collar is typically high, with folded wings. The waistcoat is buttoned high on the chest.Â, Pair of bootsAnton Capek (designed and made), C.W. The bodice fronts are faced with machine-embroidered panels and trimmed with Japonaiserie (Japanese-inspired exoticism) buttons of cast-metal. Although they were shaped like a boot, they would have resembled a dress shoe when worn under trousers. Extremists. In the 1860s it was fashionable for men's coats and jackets to be single-breasted and semi-fitted, extending to the mid thigh. This light summer dress would have been ideal for a hot climate. Hair was parted in the centre with ringlets at the side of the head, or styled with loops around the ears and pulled into a bun at the back of the head. It also has wide lapels and is buttoned very low on the chest. This suit is said to have been worn by the donor's father, Robert O'Brien Furlong, C.B., at his wedding in Dublin on 29 June 1871. Beneath all these layers and decorative trimmings it is a wonder that a woman could discreetly find her watch pocket which was often concealed in the waistband of her skirt. This example is elegantly restrained, but others were richly decorated and made in bright colours. Figure 4: Frailty distribution of male cohorts born 1860-1865, 1866-1868, and 1869-1874 in Finland Figures 5 and 6 compare the standardized life expectancy between Finland and Sweden. She set a royal precedent by choosing a simple ivory satin dress which was very much in the fashions of the day. Tiered skirts were popular in the 1850s. 7833-1938. It was common to have a pointed beard too. According to the donor, this dress was worn by his mother on her wedding day. At the beginning of the decade the emphasis was at the back of the skirt, featuring ruching, flouncing, and embellishments such as bows and thick, rich fabrics and trims. It could have been her 'going away' ensemble, or it could have been the dress she wore for the actual ceremony. In this example, ferns were placed in contact with the glass negative prior to printing-out in sunlight. It has only a slightly pointed waist and a sleeve wide at the elbow, but narrow at the wrist. 1 offer from $74.62. Pagoda sleeves are set low to create a fashionable sloping line from shoulder to arm, and the sleeve itself flares outwards into a wide cuff. According to the Lady's World of 1887: 'Skirts now never have two sides alike'. The skirt is mounted on glazed cotton and over a boned foundation. The three-piece lounge suit was very popular and regularly worn from the 1890s onwards, and it became increasingly common to have creases at the front of the trousers. PH.151-1982, This photograph, of an unidentified male sitter, shows men's dress typical of the 1850s. Hair was cut short and usually parted at the side. In this example a delicate pattern of vine leaves and speedwell is jacquard-woven in blue and cream giving a variety of textural effects. T.169-1959Given by Lady Lindsey. The bodice is in the ‘cuirasse’ style, extending into a point below the waistline. This dress is machine-embroidered, but hand sewn. This ensemble characterises the new style of fashionable women’s dress. 7862-1938Given by Eleanor M. Hollyer, 1938. The Victorians were fond of collecting and cultivating ferns, which were used as a decorative motif from the 1850s to the end of the century. Lasko Legal Services offers the same quality of lawyering, but with the flexibility, personal attention, and radically lower cost structure of a small law office. Photograph, portrait of General SmutsFrederick Hollyer (1837-1933)About 1890Great BritainPlatinum printMuseum no. This photograph gives a good idea of Lady Hawarden's studio and the way she used it. While experimenting with a synthetic formula to replace the natural anti-malarial drug quinine, he produced a reddish powder instead of the colourless quinine. This elegantly designed pedestal fan from Lasko blends into surrounding decor and cools the largest home spaces. T.43&A-1947Bequeathed by Miss H. G. Bright. His 'Portraits of Many Persons of Note' fills three volumes with nearly 200 portraits and comprises a pictorial Who's Who of late Victorian and Edwardian celebrities. 7788-1938. It moved away from the exaggerated padding provided by the bustle (a device worn under the skirt to push it out) to sheath-like dresses that emphasised the natural shapely curves of the body. T.81-1980Bequeathed by Eric Mynott. If it’s plenty of wind you seek, this fan is a worthy best pick for large and small spaces. Despite its practical use, the ensemble still incorporates the details of fashionable dress, with an overskirt in front and a bustle worn underneath at the back. To do this she selected a wide aperture, which produced both a short exposure and a shallow depth of field. During the 1860s the fashionable skirt became flatter in front with the fullness receding towards the back. This indicates that the owner wore it while nursing her children. The fabric was printed with a decorative border expressly for use as tiers of a dress. In the early 1870s a German chemist found traces of arsenic in fabric dyed with magenta, which could leak out in washing, rain or perspiration. 1. A key motif was the boteh or pine cone, what we know today as the paisley. It is beautifully constructed in the latest style as would befit a young fashionable woman, although its pristine condition suggests it might not have been worn. This type of illustration is known as a 'fashion plate', and featured in magazines to advertise and promote the latest styles. The dress fastens with a half-belt and buckle. Evening dress suit (jacket, waistcoat, trousers)Morris & CoAbout 1885LondonWool barathea with satin buttons and ribbed silk lapels; lined with black satinMuseum no. Formal gentleman's daywear of the later 19th century was usually of black or blue-black wool. T.10-1951(waistcoat); T.47-1947 (frock coat)Waistcoat given by Miss W. Shaw. The outfit was often completed with a straw boater. The jacket, trousers and waistcoat that comprised the suit could be of one colour and were then known as 'dittos'. Eight years later he moved to Paris, where he opened his own premises in 1858. This meant that he sometimes had to change his outfits six or seven times in the space of a day. This portrait shows a typical hairstyle of the 1850s.  Hair was worn parted in the middle and loosely swept over the ears into a low bun at the back. This photograph is taken from a family photograph album. T.272&A-1963, The delicate flat satin slipper with ribbon ties first became popular during the last decade of the 18th century. Photographic study of Isabella Grace, Clementia and Elphinstone Agnes Maude on terraceViscountess Clementia HawardenLondonAbout 1863-4Albumen print from wet collodion negativeMuseum no. They were often quite slim, and jackets were worn open or partially undone to reveal the high buttoning waistcoat and watch-chain. 20.5"L The dresses are full length but quite slim. Dresses with asymmetrical drapes and inserted waistcoat effects were in fashion from 1884. It greatly enhances a researcher's ability to identify other likely sources of information. This dress features a high, upstanding collar, which is a distinctive and fashionable feature of 1880s daywear. T.12 to B-1943Given by Miss Aida B. Cooper. T.849-1974Given by Mrs Geoffrey Myers, DressDesigner unknown1845-50EnglandSilk satin lined with cotton, edged with brush braidMuseum no. The middle of the decade saw a brief revival of the bustle, which was so exaggerated that the derriere protruded horizontally from the small of the back. Coulson (retailer)1895-1915 (manufactured)Vienna (made), London (sold)Glacé kid leather lined in cotton sateen and yellow silk satin, buttonsMuseum no. The dress worn by the ladies in this photograph is typical of the 1890s. The design would have been woven by a powered jacquard loom and is an example of good commercially produced fabric. The popularity of the young Queen Victoria coincided with a period when large numbers of illustrated music sheets were being published. The first machine for embroidery was invented in France. 1850 Census duration: 5 months. The soft colours of this dress anticipate the pastel shades of the early 20th century. T.324&A&B-1977Given by Madame Tussauds, Luxurious velvet dresses embellished with fringe trimmings were highly fashionable during the 1850s. Unfortunately May did not have long to enjoy wearing this jacket as she died soon after it was made. The Queen showed examples with epaulettes, blouse fronts and pointed belts (2 April 1895). They gave families the chance to show off their wealth and even less well-off couples would make an effort to dress appropriately.

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